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mirrors, which scoop up the beauty that has streamed from their face and gather it back, into themselves, entire.
Duino Elegies, 1st & 2nd, Rainer Maria Rilke
. I have dated the whole range — the ones with long hair and shimmery lips that proudly claim the word “dyke.” The loping, boyish ones, the ones who’ve shorn their hair or breasts, wearing their difference like courage. The ones who move with a touch of the otherworldly, their gender alien — they make you look twice. I
Lowkey, I Chose To Be a Lesbian | Autostraddle
My stomach was cramping like an omen from God
Lowkey, I Chose To Be a Lesbian | Autostraddle
Becoming a lesbian opened new portals in my heart and life.
Lowkey, I Chose To Be a Lesbian | Autostraddle
d by a rising tide of lesbian visibility to take the plunge into an identity I had previously believed was lonely, restrictive, or puritanical.
Lowkey, I Chose To Be a Lesbian | Autostraddle
constructing labyrinthine sentences that sometimes extend over one or two pages, sentences that resemble processions or a funeral cortege in their sheer ceremonial lavishness.
The Rings of Saturn
His gaze alone is free of Cartesian rigidity. He alone sees that greenish annihilated body, and he alone sees the shadow in the half-open mouth and over the dead man's eyes.
The Rings of Saturn
The iniquity of oblivion blindly scatters her poppyseed and when wretchedness falls upon us one summer's day like snow, all we wish for is to be forgotten.
The Rings of Saturn
For Browne, things of this kind, unspoiled by the passage of time, are symbols of the indestructibility of the human soul assured by scripture,
The Rings of Saturn
The cremated remains in the urns are examined closely: the ash, the loose teeth, some long roots of quitch, or dog's grass wreathed about the bones, and the coin intended for the Elysian ferryman.
The Rings of Saturn
Malevich’s vision implied that curiosity and a desire for self-expression are essential components of whatever it is we are defining as “humanity
Another Art World, Part 1: Art Communism and Artificial Scarcity - Journal #102
. Artists start to demand not just new rights to create and distribute their artworks; above all they demand to preside over a transformation of social reality and the ways culture reproduces itself. But in the end they invariably fail. To achieve their dreams they are obliged to rely on politicians, who have no intention of sharing power with them;
Another Art World, Part 1: Art Communism and Artificial Scarcity - Journal #102
see a life of expression as the ultimate form of freedom,
Another Art World, Part 1: Art Communism and Artificial Scarcity - Journal #102
这份文字原来是为另一个题目而写的，可是我拒绝了只有三个月寿命的假想，生的艰难，心的空虚，死别时的碎心又碎心，都由我一个人来承当吧！
Essay: 《不死鸟》The Immortal Bird by Sanmao – Chinese Reading Practice
e. It was indeed a threshold guarded by demons. To try to write in verse would have been a kind of trespass. That’s something that I still feel very strongly.
Paris Review - Harold Bloom, The Art of Criticism No. 1
O Thou steeled Cognizance whose leap commits / The agile precincts of the lark’s return.” I was just swept away by it, by the Marlovian rhetoric. I still have the flavor of that book in me. Indeed it’s the first book I ever owned. I begged my oldest sister to give it to me, and I still have the old black and gold edition she gave me for my birthday back in 194
Paris Review - Harold Bloom, The Art of Criticism No. 1
the aesthetic experience of first reading Hart Crane and William Blake
Paris Review - Harold Bloom, The Art of Criticism No. 1
a very strong misreading of the Hebrew Bible undertaken in the second century in order to meet the needs of the Jewish people in a Palestine under Roman occupation. An
Paris Review - Harold Bloom, The Art of Criticism No. 1
are delivered with great animation, whether ponderous or joyful—if also with finality.
Paris Review - Harold Bloom, The Art of Criticism No. 1
“That which I can gain from another is never tuition but only provocation.”
Paris Review - Harold Bloom, The Art of Criticism No. 1
ut, “That will not do, my dear. I must protest!”
Paris Review - Harold Bloom, The Art of Criticism No. 1
The problem, Romantics insisted, was that bourgeois society had created social pressures and expectations so stifling and atrocious that very few make it to adulthood with their humanity and freedom intact.
Another Art World, Part 1: Art Communism and Artificial Scarcity - Journal #102
t was in fact closely tied to the concept of culture—itself originally an invention of German Romanticism. The idea that the language, folklore, manners, myths, sensibilities, and even forms of happiness typical of a nation or social group all form a kind of expressive unity, products of some kind of “popular genius,” was rooted in the assumption that everyone was, in a sense, already engaged in artistic expression
Another Art World, Part 1: Art Communism and Artificial Scarcity - Journal #102
In a few years, it was all just another forgotten musical trend, an odd sidebar in the history of rock ‘n’ roll.
Another Art World, Part 1: Art Communism and Artificial Scarcity - Journal #102
. Always in the end they fade away and die, leaving things more or less exactly as they were before. In
Another Art World, Part 1: Art Communism and Artificial Scarcity - Journal #102
here contemporary art is seen as the purest expression of human creativity—and creativity as the ultimate value.
Another Art World, Part 1: Art Communism and Artificial Scarcity - Journal #102
arts,” and as such, its regulatory principle, that which holds the elaborate ranks and hierarchies of genres and forms of art—so strangely reminiscent of earlier ranks and hierarchies of angels—in their proper place
Another Art World, Part 1: Art Communism and Artificial Scarcity - Journal #102
porary art defines the very pinnacle of a much larger structure of aesthetic value, which ultimately encompasses all forms of meaning-making and cultural expression, and therefore plays a key role in reproducing the larger structure of social relations which ensure drivers, maids, miners, and telemarketers will continue to be told their lives and concerns are uninteresting and unimportant, and relegate the aesthetic
Another Art World, Part 1: Art Communism and Artificial Scarcity - Journal #102
Artistic investment follows the same logic as financial speculation.
Another Art World, Part 1: Art Communism and Artificial Scarcity - Journal #102
We would like to offer some initial thoughts on exactly how the art world can operate simultaneously as a dream of liberation, and a structure of exclusion; how its guiding principle is both that everyone should really be an artist, and that this is absolutely and irrevocably not the case. The art world is still founded on Romantic principles; these have never gone away; but the Romantic legacy contains two notions, one, a kind of democratic notion of genius as an essential aspect of any human being, even if it can only be realized in some collective way, and another, that those things that re…
Another Art World, Part 1: Art Communism and Artificial Scarcity - Journal #102
as he will someday translate me to the other world.”
Reading Letters Summer 1926: Boris Pasternak, Marina Tsvetayeva, Rainer Maria Rilke - Ploughshares
What they love about each other is the Orphic power that inhabits them and draws them together.
Reading Letters Summer 1926: Boris Pasternak, Marina Tsvetayeva, Rainer Maria Rilke - Ploughshares
e three poets desire what they already have and are—themselves—and that their three selves are in truth a single self, their passion being predicated on the recognition of the same “divinity” in one another.
Reading Letters Summer 1926: Boris Pasternak, Marina Tsvetayeva, Rainer Maria Rilke - Ploughshares
But this person is so immense, and the letters testify to this so vastly, that sometimes it almost causes me physical pain to hide them from others. Such pain is called happiness.”
Reading Letters Summer 1926: Boris Pasternak, Marina Tsvetayeva, Rainer Maria Rilke - Ploughshares
You, poetry incarnate
Reading Letters Summer 1926: Boris Pasternak, Marina Tsvetayeva, Rainer Maria Rilke - Ploughshares
He also, however, begged Rilke not to reply directly to him—in part because of the censors, though this goes unsaid—but to write to him via another poet whom he knew and worshipped, Marina Tsvetayeva.
Reading Letters Summer 1926: Boris Pasternak, Marina Tsvetayeva, Rainer Maria Rilke - Ploughshares
: “I love you, as poetry wants to and should be loved, as culture in its progress celebrates, admires, and experiences its own peaks. I love you and can be proud of the fact that I do not lower you by this love.”
Reading Letters Summer 1926: Boris Pasternak, Marina Tsvetayeva, Rainer Maria Rilke - Ploughshares
mysterious illness wrongly self-diagnosed as loneliness
Reading Letters Summer 1926: Boris Pasternak, Marina Tsvetayeva, Rainer Maria Rilke - Ploughshares
longing. . . because desire is full / of endless distances.
Reading Letters Summer 1926: Boris Pasternak, Marina Tsvetayeva, Rainer Maria Rilke - Ploughshares
ecstatic and elegiac.
Reading Letters Summer 1926: Boris Pasternak, Marina Tsvetayeva, Rainer Maria Rilke - Ploughshares
My head on the bard’s own breast
Untitled [Whence cometh such tender rapture?] by Marina Tsvetaeva - Poems | Academy of American Poets
Known lips—that were darker than yours.
Untitled [Whence cometh such tender rapture?] by Marina Tsvetaeva - Poems | Academy of American Poets
serenely disdains to annihilate us.
Duino Elegies, 1st & 2nd, Rainer Maria Rilke
For beauty is nothing but the beginning of terror, which we are still just able to endure,
Duino Elegies, 1st & 2nd, Rainer Maria Rilke
, Susan Sontag speaks of a “god and two worshipers, who are also worshippers of each other (and who we, readers of their letters, know to be future gods).”
Reading Letters Summer 1926: Boris Pasternak, Marina Tsvetayeva, Rainer Maria Rilke - Ploughshares
ainer actually remained silent and didn’t reply. But Marina wrote to Rilke some days if he received any letter from her. Rainer replied :
Rilke and Marina Tsvataeva : Letters – Letters To A Hypothetical Lover
When I finish something and it seems good, I’m dazed. It must have been fun to write. I wish I’d been there.
The Art of Dying | The New Yorker
Sincerity is my accursed default.
The Art of Dying | The New Yorker
I’m writing as little jail cells, penning me into perspectives, conceits, ideas, jokes, and memories—stories! Not an original type of anxiety, for a writer.
The Art of Dying | The New Yorker
I met Susan Sontag once, at a party. She came up and praised something that I had written. Thrilled, I began chattering about I don’t remember what. Sontag froze. She retreated, taking backward steps before turning away. It dawned on me that receiving her blessing was supposed to have been enough: a solemn initiation. I had presumed on it.
The Art of Dying | The New Yorker